Artist in conversation: Ben Kay
‘‘art can be both a mirror and a map: reflecting society while guiding us through it.’’
In this exclusive feature with The Holy Art Gallery, Bernard Kyei Baffour, professionally known as Ben Kay, offers a compelling look into his creative journey, artistic influences, and the powerful narratives that define his work. As an interdisciplinary artist working across artistic photography, moving image, and conceptual filmmaking, Ben Kay crafts visually striking pieces rooted in Afrocentric storytelling. His art goes beyond aesthetics, it is educational, evocative, and deeply intentional, shedding light on themes of African identity, resilience, history, and transformation. Through symbolic imagery and layered narratives, his work engages viewers intellectually and emotionally, inviting reflection and dialogue.
His work has been exhibited internationally, including COAST, organized by The Photocopy Club in the UK. Most recently, his thought-provoking pieces were selected for FUTURE STARS Digital - 6th Edition by The Holy Art, showcased in London and Athens, as well as Art on Loop by The Holy Art, exhibited in Los Angeles. A recipient of the International Talent Scholarship, Bernard pursued his Master of Arts in Film and Television at Falmouth University, further refining his approach to visual storytelling.
What initially inspired you to become an artist, and how did you develop your unique style?
I’m honored to be part of this interview and to share my story with your readers. My name is Bernard Kyei Baffour, though within the creative world, I go by Ben Kay. My journey as an artist began with a deep love for storytelling. Growing up in Ghana, I was drawn to images that spoke volumes without uttering a word, photographs and films that carried emotion, history, and identity in powerful silence. I started with filmmaking, captivated by the rhythm and intensity of moving images, but over time, I gravitated toward artistic photography with a blend of moving images and film, where I could fully explore symbolism and layered narratives. This evolution was not just about medium, it was about purpose. I’ve been deeply inspired by artists like Gordon Parks, Bill Viola, Hank Willis Thomas, and Carrie Mae Weems, visionaries who use their craft to shift perspectives and evoke profound emotional truths. Their work showed me that art can be both a mirror and a map: reflecting society while guiding us through it. My time studying for a Master of Arts in Film and Television at Falmouth University helped sharpen my visual language and deepen my research approach, allowing me to merge film, photography, and conceptual storytelling into one fluid practice. Today, my work is grounded in Afrocentric narratives, often exploring identity, colonial history, resilience, and collective memory. Symbolism and nature are essential voices in my work. I use them not just for aesthetic value, but as tools to evoke meaning, whether it’s through the texture of fabric, the presence of water, or the posture of a body. Even clothing in my images can become a statement, speaking to scars of colonialism, cultural pride, or quiet resistance. I aim to create images that pull people in with their beauty, but once they linger, they discover deeper layers: questions, histories, emotions. In a world where images shape perceptions, I see my role as both an artist and a storyteller, challenging assumptions, amplifying African voices, and opening conversations about what it means to be human, to carry history, and to imagine new futures.
Do you have any rituals or routines that help you get into a creative mindset when starting a new project?
Creativity, for me, is a state of immersion. I often begin my process with extensive research, diving into historical, cultural, and philosophical references that relate to the concept I’m exploring. Music plays a vital role in shaping the emotional tone of my work, particularly indigenous African sounds that connect me to ancestral rhythms and memory. As a hand percussionist, I’m naturally drawn to instrumentals. The act of playing helps me ground myself and tap into a more intuitive, visceral space. Sometimes, the rhythm alone can guide the pace or structure of a visual narrative I’m developing. I also make time to visit locations that inspire me, observing light, movement, and the energy of the space. Before executing a project, I engage in quiet reflection, sometimes journaling or sketching out ideas to refine my vision before translating it into a visual medium. These moments of stillness, combined with sound and research, help me align both emotionally and intellectually with the story I’m about to tell.
How do you hope your audience connects with your work, and what emotions or reflections do you want to evoke in them?
I want my work to be a mirror, one that reflects both the beauty and the harsh realities of existence. Through my lens, I aim to evoke a sense of urgency, contemplation, and, most importantly, connection. My hope is that viewers not only see but feel the narratives within my pieces, recognizing the cultural depth, resilience, and struggles embedded in African identity. Whether it’s the exploitation of resources, historical scars, or the contemporary shifts in socio- political landscapes, I want my work to prompt critical reflection and dialogue.
How has your artistic journey evolved over the years?
My journey has been one of continuous transformation. From my early days of experimenting with photography to now working with moving images and artist films, my practice has expanded beyond static visuals. Studying film and television at Falmouth University refined my storytelling approach, allowing me to integrate sound, motion, and deeper layers of conceptualization. I have also become more intentional in my themes, moving from observational photography to crafting immersive narratives that dissect power dynamics, historical erasure, and identity politics.
Can you describe your favorite piece you’ve created and why it’s meaningful to you?
I wouldn’t say I have a single favorite piece, as each work I create resonates differently and evokes unique emotions. ‘Equilibrium’ is one of my most significant works. It reflects Africa’s vulnerability during global health crises, capturing the continent’s struggles through a powerful Afrocentric lens. The image of a male model wearing a nebulizer mask connected to a globe, standing in restless waters, is a metaphor for Africa’s fight for survival, battling exploitation and systemic neglect. This piece means a lot to me because it not only highlights these ongoing injustices but also speaks to the resilience of our people. It’s a visual statement on how the world interacts with Africa, constantly taking while giving little in return. Equilibrium.
Similarly, “Silent Breath” reflects the ongoing struggle between power and resistance, vulnerability and survival. Through stark contrasts of light and shadow, it speaks for those silenced by injustice, whether through racism, war, poverty, or colonial legacies. The work is both personal and universal, a visual reminder that even in silence, there is resistance, and even in darkness, a need to be seen. More than an image, it stands as a powerful testament to survival and the fight for justice.
The Wall Within also centers around the Adinkra symbol “Eban,” representing protection, and explores the balance between identity, freedom, and ancestral wisdom. With elements like the “Fawohodie” cloth and mask, the piece reflects the tension between tradition and evolution. Beyond its visual impact, it serves as an educational tool, reviving overlooked African symbols and encouraging dialogue around cultural heritage, identity, and resilience.
How do you incorporate feedback from critics and audiences into your artistic practice, and how do you balance this feedback with your own artistic intuition?
Art is a dialogue, and I value the perspectives of both critics and audiences. Their feedback helps me see my work from different angles, often revealing nuances I hadn’t considered. However, I maintain a strong sense of artistic intuition, ensuring that external input refines my vision rather than reshapes it entirely. The key is discernment: I absorb constructive criticism that aligns with my artistic goals while staying true to the core messages I want to convey.
How do you stay motivated and inspired despite any setbacks or creative blocks you may encounter?
Setbacks are unavoidable part of the artistic journey, but I see them as moments of recalibration rather than obstacles. Whenever I experience creative blocks, I revisit past works, engage with literature, and immerse myself in spaces that fuel my curiosity. Traveling, experiencing different cultures, and having conversations with fellow artists also reignite my creative drive. Most importantly, I remind myself why I create, to tell stories that matter, to challenge perceptions, and to document history through an Afrocentric perspective.
How do you feel about exhibiting your artworks with The Holy Art Gallery?
It’s an incredible opportunity. The Holy Art Gallery is a space that celebrates contemporary voices, and I’m honored to have my work included in that dialogue. What excites me most is the chance to engage with a global audience, seeing how people from different cultures and perspectives interact with my work. Exhibiting is not just about showcasing art; it’s about starting conversations, and I’m looking forward to the ones this exhibition will spark. FUTURE STARS Digital - 6th Edition by The Holy Art, showcased in London and Athens. Art on Loop by Digital by The Holy Art, exhibited in Los Angeles, USA.
What role does emotion play in your creative process, and how do you aim to evoke specific feelings or reactions from those who view your artworks?
Emotion is at the core of everything I create. My work is not just about aesthetics; it is about evoking visceral reactions that challenge, unsettle, and inspire. Whether through stark contrasts, immersive motion, or symbolic compositions, I use visual language to tap into collective memory and personal reflection. My goal is for audiences to not only see but feel, to engage with the work on a level that lingers beyond the moment of viewing. Emotion is what makes art timeless, and I strive to create pieces that leave lasting imprints on the mind and soul.
Looking ahead, what are your long-term goals and aspirations as an artist, and how do you plan to achieve them?
My long-term vision is to establish a legacy of Afrocentric storytelling that not only documents history but also influences the future of visual narratives. I aim to expand my practice into large-scale multimedia installations, collaborate with global artists on cross-cultural projects, and mentor emerging African creatives. To achieve this, I am continuously refining my craft, engaging with institutions that support innovative storytelling, and seeking opportunities to exhibit on major international platforms. Ultimately, I want my work to serve as both an archive and a catalyst for change.